Andreas Preuss

  • Content Count

  • Joined

  • Last visited


About Andreas Preuss

  • Rank

Contact Methods

  • Website URL
  • Yahoo

Profile Information

  • Location

Recent Profile Visitors

1906 profile views
  1. So now comes the real challenge. Make the super light violin sound. Here are the ideas I have in mind 1: open the violin and reinforce the rib structure with cross bars. 2: varnish the ribs from the inside 3. graft a neck with spruce type material which has a a higher sound speed than red cedar. 4: make a rib cage with heavy thick ribs.
  2. From Borax treatment to cocobolo wood discussion! actually very interesting. Never worked with cocobolo. But maybe this is a hint for using rather heavy maple. (So far the toughest wood I worked with was flamed chestnut. That's stubborn like hell.)
  3. A Thir with so long f-holes? Can't remember that any member of the family made such long f-holes. From the top of my head I'd rather think in the direction of Sebastian Dalinger.
  4. Actually, another question would be at which precision the joint of the back is in the center. Makers in the Voigtland region used a method where it falls with basically zero tolerance in the center. On French fiddles there is often enough a difference of up to 0.5mm measuring left and right.
  5. There are different ways to set the neck. 19th French makers for example set the neck to the center line of the top but gave the neck root a slight tilt to elevate the E string side. as a result the position of the button would shift a pinch to the treble (left) side. (photo taken from 'Les tresors de la Lutherie, p49, violin by J.B. Vuillaume)
  6. What is the material of the purfling blacks? How is the interior made? Materials? and are the C linings inserted in the corner blocks?er Is the joint on the back button in the center of the button?
  7. I think the overall dimensions are more important. In particular how deeply scooped the bar is at 1/4 and 3/4 of the length.
  8. if there are any car boot sales in your region. In my region there aren't any.
  9. Who knows if we are looking on Mr. Mackies original work? Could be that he bought violins on the white and only varnished them. Sufficient reason in those days to put one's own label. But maybe we have someone from South Africa in this forum who saw other instruments by Adam Mackie and will smash my arguments as absolutely invalid.
  10. Difficult to say. Our music culture is dominated by genres of music not belonging to classical music any more. More and more classical music lovers share their love with other other genres, let it be pop, rock, jazz or still something else. Without any proof for it, I think this changes as well how the audience in classical music perceives the sound of a concert. Sound 'power' is one keyword which I see in this context. Maybe (just my hypothesis) listeners and performers inconsciously look on the other popular music genres where 'sound power' with the means of an amplifier is absolutely no problem. In any case 'loud' seems to be the preferred characteristic not only for the instruments but the music itself. Why? Our world became louder in general. Most inventions since the steam locomotive are paired with new noises which are unloaded on the perception in our brain without being asked for it. This must have some consequences somewhere. The term of 'noise pollution' is already firmly established and I wouldn't wonder if someone already formed the term of 'sound stress'. As a consequence we see already classical violinists jumping on the amplified 'loudness' track and they seem to be very successful with it. I don't think that it is a coincidence.
  11. Dont think he made a couple of thousands.... ... but still an impressive number. The level of extraordinary competence is nowadays measured in USD. .
  12. 1. You can see it like that. You could say as well that 300 years of adjusting something which was always supposed to be the 'non plus ultra' brought some good results. (Playing advocates diabolus here) 2. I was saying that it is age plus alpha (or call it the unknown factor x) 3. Nobody ever compared the sound of a violin when it was made and 300 years later. It depends how you see yourself as a maker. In my personal view only things which last have quality from the beginning,, (prosperous on monetary terms aside) being respected in 300 years is for me a valid and good goal. 4. No comment. (Besides, if you look on the development of Strad in his over 60 years long working time at the bench? I would certainly say it is a helpful ideal. To me he was someone ahead of his own time.)
  13. Can't remember that Sacconi was talking about propolis for a sealer from the inside. A precise quotation would be helpful. However he talked about an inside sealer.
  14. 1. Then we can safely say that old violins sound better than new ones is a prejudice. 2. So there must be a reason why some 300 year old instruments sound actually amazing. 3. If someone wants to create a violin which he wants to last for 300 years it is a necessary condition. 4. I don't know what most violin makers want 'deep down'.